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production Fanny & Alexander and Santarcangelo Festival 2008
concept Chiara Lagani and Luigi de Angelis
with Marco Cavalcoli
Babel of voices for the confessions of mankind to the wizard: interpreters Aftab Ahmed (Pakistani), Anonymous (Chinese), Juan Carlos Barbero Bernal
(Spanish), Joanna Grace Barbosa (Filipino), Verónica Fiorillo Beltrán (Spanish), Panajotis Nicola Budrojannis (Greek), Christopher Garwood
(English), Titilope Hassan (Yoruba, Nigerian regional language), Jarmo Jantunen (Finnish), Aicha Kaous (Moroccan), Katsiaryna Khila (Russian),
Mihaela Cornelia Nemes (Romanian), Dagmar Roberts (Slovak), Eva Wiesmann (German), Marie-Line Zucchiatti (French).
scenery and technical realization Nicola Fagnani (Opera Ovunque), Amir Sharif-pour
With thanks to Sandro Amati, Allan Bennett, Francesco Bernabini, Rosa Maria Bollettieri Bosinelli, Francesco Fuzz Brasini, Adele Cacciagrano, Associazione Cantieri, Patrizio Cenacchi, Luigi Dadina, Paula e Leonardo de Angelis, Piersandra Di Matteo, Loretta Federici, Isabel Fernández García, Vic Ildefonso, Tahar Lamri, Paula Loikala, Alberto Marchesani, Franco Masotti, Giorgio Minestrini, Elena Morandi, Gisberto Morselli, Marino Pedroni, Rodolfo Sacchettini, Scuola Superiore di Lingue Moderne per Interpreti e Traduttori dell'Università di Bologna - Sede di Forlì, Paolo Trioschi and all the boys and girls at the workshops Oz-Alfavita. With special thanks to Fiorenza Menni and Davide Sacco.
The texts of the confessions and the interviews have been composed with the direct contribution of the persons concerned: it is biographic material variously contaminated with literary or chronicle ones.
EMERALD CITY is the mirage city, a utopia, the emerald capital of the invented and unexisting reign that artists find themselves to govern once a traveller has crossed the threshold of their bristling and attractive worlds.
THE WIZARD OF OZ, once again, after the past adventures of “Dorothy. Disconcert for Oz” and “Kansas”, takes the appearance of a contemporary artwork, the effigy of the dictator-actor: “Him”. Thus, under the appearance of this artwork, the Wizard keeps listening to the mutable voice of mankind, kneeling in his own private study-laboratory. Behind him there's a wall made of loud-speakers, cones of various shapes and measures from which words of men and women come out: the confessions-prayers that the whole world addresses to Him. Some ask for a heart, others for a brain, others for the nerve: a babelic human symphony.
THE CONFESSION is a form of exercise on the powerlessness of words in the face of the complexity of thought. It feeds on the feeling of unmentionable: what cannot be uttered or told if not empirically passing through an actual personal mystery. It's the only form of language which the dismal requests of mankind can take at Emerald City. Oz decided to answer to all the human confessions with an only definitive confession, his one: a universal, television one, composed in a mimetic language which he has studied for a long time...
THE MIMYCRY LANGUAGE OR NONVERBAL LANGUAGE OF FACIAL MIMICRY which little by little takes shape on his face is the conditioned reflex of all the human voices, mixed but yet discreet; sounds of hearts brains and guts which Oz has fed on and poisoned himself with for a long time... It is a muscular alphabet or grammar of gestures that the Wizard uses to reconvert the fundamental wishes of mankind, solving them into the secret revelation of his art: whoever understands this language will take immediate advantage...
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